Apolonia Ancient Art offers ancient Greek, Roman, Egyptian, and Pre-Columbian works of art Apolonia Ancient Art
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1260877
Apolonia Ancient Art
$3,675.00
This scarce piece is a Mayan ceramic that dates circa 600-900 A.D. This piece is approximately 7 inches long, by 4.5 inches high, and is in superb intact condition with only a few minute abrasions. This piece also has an attractive orange and light brown polychrome glaze, with some heavy and spotty black mineral deposits. This interesting vessel is in the form of a sitting rabbit, and has all four legs tucked under the body. There is also a single rattle that is built into the animated hollow head, and rattles of this type are normally seen in the rounded hollow legs of select Mayan tripod vessels. This appealing vessel is designed to sit horizontally as a rabbit would be at rest, and also upright, as if the rabbit is raised up on it's hind legs. In addition, there are three suspension holes, one under each front leg, and one that runs through the head. This allowed one to control a liquid that could then be poured from the raised hole that is seen on the upper back of the rabbit. This piece also has a black Mayan mat symbol which is painted on the belly of the rabbit. The rabbit, for the Maya, was a deity associated with scribal or artistic roles, and was the patron god of the Mayan scribe. According to Michael Coe in "The Art of the Maya Scribe", Abrams Pub., New York, 1998, p. 110: "The much illustrated little Rabbit God writing a codex on the Princeton Vase makes only one showing as a scribe in the art of the classic Maya. He must be the same rabbit that the Maya saw on the face of the moon, and is iconographically linked with the Moon Goddess, who often is depicted holding him in her arms." The piece offered here may represent a scribe as a rabbit, but more likely it represents the "Rabbit God" himself, who also doubles as the patron god of the Mayan scribes. This vessel may also have been a "paint pot" for a Mayan scribe and/or it may also have been a votive vessel for an important individual such as a Mayan scribe. The artistic style of the painted black Mayan mat seen on this piece, is also analogous to the painted mats seen on "Copador" type vessels. The name "Copador" is a contraction of Copan and El Salvador, and refers to the zone of distribution for this type of vessel. This piece may also refer to the 13th ruler of Copan, "18 Rabbit", who acceded to the throne circa 695 A.D., and ruled for 43 years. Under his rule in Copan, Copan's population was growing as never before, and the "Copador" polychrome ware was being manufactured and distributed over a wide area in the Mayan world. This energetic ruler erected many monuments, including one of the largest ballcourts (Ballcourt A-III), which was second only to the Great Court at Chichen Itza. Linda Schele also felt that this ruler was also the greatest single patron of the arts in Copan's history, based on the number of works and the high-relief style of carving. (See "Scribes, Warriors, and Kings", by William Fash, Thames and Hudson Pub., 1991, p. 125.) Hence, it's quite possible that the vessel offered here also referred to this ruler of Copan, in addition to representing the "Rabbit God" of the Mayan scribes. This piece is a rare intact Mayan vessel designed in animal form, and full bodied Mayan "animal form" type ceramics are seldom seen on the market. Ex: William Freeman estate, New Mexico, circa 1960's-1980's. Ex: Private AZ. collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #1293208
Apolonia Ancient Art
$1,875.00
This primitive, but esoteric piece is a Chontal culture seated mother goddess that dates circa 300-100 B.C. This piece is approximately 4.9 inches high, by 3.4 inches wide, by 1.9 inches thick. This piece was carved from a single piece of hard green serpentine stone, and is an attractive dark green, with spotty light brown and black colors. This piece has a nice patina with some calcite deposits seen in some of the minute veins that run on the outer surface of this piece, and there is some minute root marking as well. In addition, this piece was polished in antiquity, and has a bright surface. This piece is also intact, with no repair/restoration, and has a small excavation mark on the back side. This piece is a "mother goddess" type, and is seen seated and holding her hands to her breasts. This attractive piece is also likely a fertility type piece, as this "mother goddess" emphasizes her breasts that are full of "mother's milk". This piece also emphasizes the Chontal culture artistic style which shows coffee bean eyes, double-line lips, square nose, and incised lines for the fingers and toes. This piece also shows the head slightly angled to the left, which offers this piece a more animated appearance. The Chontal culture is also contemporary with the Mezcala culture, and the design of the Chontal figurines have more rounded and defined features than the Mexcala culture, which tend to have very angular lines and features. The type of piece seen here is scarce to rare, and is not often seen on the market. This piece can also stand by itself, and simply sits on the included display base. (For the type see: Carlo Gay and Frances Pratt, "Mezcala", Geneva, 1992.) Ex: Private New York collection, circa 1980's. Ex: Howard Rose collection, New York. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre 1492 item #1185287
Apolonia Ancient Art
$1,675.00
This attractive piece is an Inka-Chimu canteen vessel that dates circa 1450-1533 A.D. This piece is approxiamtely 8.5 inches high by 3.5 inches wide, and is in mint to superb condition with no repair/restoration. This piece has an attractive glossy black glaze with some dark brown burnishing. This piece has an indented depression on each side, and seen centered within, is a star and a spiral symbol on each side of the vessel. The star is a well known Inka symbol, and is often seen as a design shape on Inka bronze mace heads and black basalt bowls. The spiral design is also seen as a Nazca line symbol, and these line symbols created in the desert were constructed by the Nazca to have been viewed by the Gods from the air. The Nazca spiral design may have served as a "water/rain symbol", and the canteen vessel offered here may have held water in a votive capacity as well. (An analogous Nazca spiral symbol is seen published in "The Mystery On the Desert" by Maria Reiche, pub. 1949, reprint 1968.) The piece offered here was also likely made by Chimu potters who simply continued working for their Inka masters who conquered their city state of Chanchan circa 1470 A.D. The piece offered here derives from earlier Chimu pottery types/techniques, notably the lustrous blackware made by the north-coast potters of Chanchan and Lambayaque. One feature of these Chimu potters, seen on the vessel offered here, is the single elongated neck of the vessel. This piece is an interesting example of Andean pre-Columbian art, as it has symbols that are common to several cultures, and has a very esoteric shape which is another hallmark of Inka ceramics. Ex: Private German collection, circa 1970's. Ex: Dr. Klaus Maria collection, circa 1980-2012. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1239527
Apolonia Ancient Art
$3,275.00
This rare piece is a Salinar/Viru culture monkey "transformation" type vessel that dates circa 400-200 B.C. This piece is approximately 9 inches long by 7 inches high, and is in superb condition with no repair/restoration. This piece is a standing quadruped with a stylized lobed monkey's head, and a short tail is seen curled at the back. This piece is seen standing on sturdy legs, with each flank painted with mythical creatures that have bared fangs and claws. The whole piece is covered with a light yellow-brown slip, and the mythical creatures and facial elements are painted in a light reddish-orange color. This piece is also a "stirrup-handle" type piece that is also designed as a "whistle" type vessel, as it makes a shrill sound when one blows into the raised end of the handle, and as such, this vessel was also likely a "ceremonial" type vessel. In addition, this piece also represents a "transformation" type vessel, as the stylized lobed head on the monkey has human and animal features. This rare early Andean culture ceramic may also be a prototype for the subsequent Moche I ceramics, and as such, this type of piece set the standard for Andean ceramics that have a great deal of realism regarding both human and animal representations. This piece also has some spotty light brown mineral deposits, and is a superb example for the type that is seldom seen on the market. Another analogous example of this culture is seen in Lempertz Pre-Columbian Art, Brussels, Jan. 2010, no. 49. (See attached photo. The Lempertz example also has an analogous painted mythical creature on the flanks as the piece offered here, and both of these pieces may have been produced in the same workshop.) This type of piece is x-rare to rare, and has a high degree of eye appeal. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1980's. Ex: Auktion Ketterer 163, 1986. Ex: Private German collection. Note: Additional documentation is available for the purchaser, including a TL test from Gutachten Lab., 01/14/1991, no. 369012. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1022403
Apolonia Ancient Art
$1,265.00
This interesting piece is an Olmecoid standing figurine that dates circa 600-300 B.C. This piece is approximately 6 inches high, is a light tan clay, and has a thin light tan to clear polychrome glaze. This piece is intact, and has a solid body and a mold made hollow head, which was attached in antiquity. This figure is seen with both arms at the side, and the hands are positioned at the front holding a paunchy stomach, which indicates that this piece is a fertility and/or mother goddess. In addition, the lower torso is "pear" shaped and has wide hips. This piece also has many classic Olmec artistic style features such as the jaguar-like ears, eyes, and mouth. These features are a combination of human and animal, which are classified as "transformation art", which is a principle stylistic hallmark of Olmec art from central Mexico. This type of Middle Preclassic period fertility figurine has been found in Izapa (Mexico), Kaminaljuyu (Guatemala), and Chalchuapa (El Salvador); and has also been classified as the "Mamom" artistic style, which was produced by a "pre-Mayan" and/or Mayan culture. (For the "Mamom" artistic style, see "Maya, Treasures of an Ancient Civilization", Harry Abrams, Inc. Pub., New York, 1985, pp. 74-75.) This piece is scarce in this intact condition, as most pieces of this type are found broken, and is a much better example than what is normally seen on the market. This piece can also stand by itself. This piece comes with a custom stand, and can easily be removed. Ex: Julio Atalah collection, circa 1940-1967. Ex: Danny Hall collection, Houston, TX., circa 1967-2005. Ex: Saida Cebero collection, Sugarland, TX., circa 2005-2009. Ex: Private Florida collection. I certify that this pice is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1290357
Apolonia Ancient Art
Sold
This interesting piece is a Mayan "Copador" bowl that dates circa 600-900 A.D. The term "Copador" is a blend of "Copan" and El Salvador", which refer to both of these regions. This piece is approximately 8.2 inches in diameter, by 3 inches high. This piece is intact, with no repair/restoration, and has vibrant dark red, orange, and black colors. This piece also has some attractive and extensive root marking, and some spotty black and brown mineral deposits. Overall, this piece is in it's pristine "as found" condition. This piece also has four pairs of seated chiefs, who are seen facing a mythical animal that closely resembles a dog. Each of these mythical animals have a speaking scroll that comes forth from it's mouth, and appear to have a conversation with their facing seated chiefs. There is a dark red band seen at the upper rim, and the inside of this interesting vessel has four "Glyph Groups" that are seen on the inner rim, along with a red banded "Mat" symbol that is seen on the inner bottom surface. This "Mat" symbol, which is also described as a "JAL" symbol, is a Mayan symbol that denotes royalty, and also referred to finely-woven garments worn by royalty. This bowl likely was owned by an important individual, and Mayan bowls of this type may each have had an individual purpose as an offering in the tomb of an important individual. (For the "JAL" sign see: "Reading Maya Art", by Andrea Stone and Marc Zender, Thames and Hudson, 2011, p. 81.) In addition, the four "Glyph Groups" seen on the inner rim have two groups that contain the Mayan glyph symbol for "13", as denoted by three dots and two bars. The Maya worshipped the thirteen gods of the Upper World, who ruled over the thirteen "layers" or "skies" into which the Upper World was divided. The third "Glyph Group" is a glyph with a speaking scroll, and the fourth "Glyph Group" are two identical glyphs that are seen one above the other. Overall, this is a very interesting Mayan bowl in excellent condition that has glyphs that appear to have meaning and/or are partly decipherable, and are not purely "pseudo-glyphs", as is the case as seen on most bowls of this type. Ex: Howard Rose collection, New York, circa 1980's Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #824649
Apolonia Ancient Art
$1,375.00
This interesting piece is from the Jama-Coaque culture that lived in the tropical forest coast region of northern Ecuador near the Esmeraldas River. This area is also the region where the Spaniards first encountered the native South Americans. The piece offered here is approximately 10 inches high, dates circa 500 B.C.-500 A.D., and is intact, save for some missing coffee bean ends seen on the headdress and a very small section of the headdress behind the right ear, and this may have been done as this piece was a burial offering. These breaks appear to be very old, as there is wear in the break areas with burial deposits, and this may have been done to break the "mana" and/or magic of the piece for burial. The seated figurine may be a shaman that is seen wearing a headdress, shirt, earrings, and nose ring that are decorated with coffee bean symbols. He also has coffee bean designed eyes and is seen holding a lime pot in his right hand and in his left, a coca pod. (For the type see: "Pre-Columbian Art" by Jose Alcina Franch, Abrams Pub., New York, 1983, no. 595.) There are traces of painted designs seen on the lower legs, headdress, and skirt. This piece has spotty black mineral deposits and some minute root marking. An example and type that is now scarce on the market. Ex: Private Arizona collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1340583
Apolonia Ancient Art
$4,675.00
These two rare Mayan pieces are two carved longbones that date to the Late Classic Period, circa 600-900 A.D. These pieces are approximately 4.3 and 4.6 inches high, and are approximately 1 inch in diameter at the widest point of each piece. These two pieces are intricately carved, and each feature the profile of a Mayan lord, who is seen wearing large jade earflares and an elaborate headdress. These pieces are also published in "The Face of Ancient America: The Wally and Brenda Zollman Collection of Precolumbian Art", Indianapolis Museum of Art, 1988, no. 84 (See attached photo.), and the following is the description of these rare pieces by John Carlson: "The headdresses contain images of long-lipped monsters. At the top of the bone pictured to the right is the profile face of some mammalian creature, possibly a peccary, which does have sky associations. The exact function of such carved bones in not known. They may have been handles for fans, bloodletter perforators, or even musical instruments. Some may also have been used as smoking tubes such as are usually depicted protruding from the forehead of God K. Schele and Miller have also discussed two fine examples of Mayan incised longbones; one is from a jaguar, and the other is a deer tibia. Both images and texts portray dynastic rites. Three additional bones published by Von Winning also present royal profile portraits, and two clearly show the drilled holes for suspension. These carved bones may have been worn as pectorals or attached to the costume for use in some specific, but as yet incompletely known dynastic function. In any case, all such carved bones are clearly high-status objects". The pieces offered here do not have any drilled holes for suspension, but could have, as there appears to be some of the leading edge missing on both ends of both pieces. These pieces are nearly complete, and are in superb condition for a perishable material such as bone, and are some of the best known published examples for the type. In addition, the carved bones offered here may be animal or human, and that fact was also unknown to the academics of the reference noted above, as the description reads: "Carved bone (human?)". The two sacred pieces offered here certainly had royal associations, and were likely used in some sacred regal ceremony and/or religious ritual. These two pieces also sit on a custom display stand, and can easily be removed. Ex: Wally and Brenda Zollman collection, circa 1970's. Published: "The Face of Ancient America", circa 1988. Exhibited: Indianapolis Museum of Art, circa 1988. Exhibited: Indiana University Art Museum, circa 1989. I certify that these pieces are authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1044364
Apolonia Ancient Art
$2,875.00
This visually appealing piece is a large Mayan cylinder vessel that dates circa 400-600 A.D. This piece is approximately 8.5 inches high by 6.9 inches in diameter, is intact with no repair and/or restoration, and sits on four legs that are attached to the bottom base. This piece is a bright orange and black-line polychrome ceramic, which has a "square-cubed" geometric pattern that runs around the entire outer surface. This pattern is likely an imitation of a basket weave pattern, or possibly a textile pattern. Mayan artists also relished imitation of one material with another, particularly in painted media that we read as "trompe l' oeil", in which the eye is tricked, and in the case of the piece offered here, the surface was painted in such a way as to make the observer see woven basketry. In addition, and according to Herbert J. Spinden in "A Study of Mayan Art, Its Subject Matter & Historical Development", Dover Pub., New York, 1975, page 147: "Simple basket weavings appear as painted ornamentation on potsherds from the Uloa Valley (Fig. 204). Complicated braided patterns are common as the rim decoration on pottery from this region, and may have had their origin in the imitation of wicker-work basketry. It is probable that basketry was not of much importance as an art among the Maya, owing to the high development of ceramics." This piece has some heavy spotty black manganese deposits and root marking, which is mainly seen on the bottom and at the bottom edge of the vessel. This piece has some minor minute glaze loss, but overall, it is in extremely fine condition. This piece is also from the Salvador/Honduran region, as the orange and black colors are common for the region, but the type of geometric "square-cubed" pattern that is seen running around the entire vessel is not common, and is a scarce design. This large piece is interesting, has a high degree of eye appeal, and is scarce in this condition with its vibrant color. Ex: C.W. Slagle collection, Scottsdale, AZ., circa 1980's. Ex: Private FL. collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #809739
Apolonia Ancient Art
$1,275.00
This superb ceramic is from the Moche culture that dwelled in northern Peru and dates circa 50-200 A.D. This piece is classified as being Moche I period, circa 50-200 A.D., due to the design of the stirrup spout that has a thick lip. The Moche ceramics from this period often have a cream colored glaze with red highlights, as this vessel also displays. This intact piece is approximately 8 inches high and is in superb condition, with no over paint, repair, and/or restoration. There is also a small pebble inside this ceramic, and this vessel may have served as a ceremonial rattle. This cute piece has a vibrant red line-designed lizard seen on both sides, and there are red dots that surround each lizard. These red dots represent seeds of the acacia tree, which are closely related to the hallucinogenic anadenanthera colubrina, which are believed to have powerful medicinal properties. The lizards that are native to the desert scrub brush land of northern Peru subsist exclusively on these seeds, and its thought the Moche consumed these lizards believing that they would derive the benefits of the acacia seeds. (For the ceramic type see "Moche Art of Peru" by Christopher Donnan, University of California, 1978, page 142.) The lizard was also a creature worthy of depiction, as lizards shed their skins, and this trait makes them symbolic of regeneration. This piece is an interesting work of Moche line-designed art that is not often seen on the market in this superb condition. Ex: Private CA. collection. Ex: Arte Textil, San Francisco, CA. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #1325875
Apolonia Ancient Art
$1,265.00
This complete piece is made of 22 tubular jade beads, along with a jade "Celt-God" pendant, which is also known as an "Ax-God" pendant. The beads strung together are approximately 22 inches long, and the "Celt-God" pendant is approximately 4 inches high by 1 inches wide near the base. This piece dates circa 200-500 A.D., and it was produced in northern Costa Rica, in an area known as the Atlantic Watershed region. The beads and pendant were "bow-drilled", with a hole created from drilling at each end. The beads are also a combination of different types of jade and jade-type stones, with some darker in color than others. The pendant shows "line-cut" design and is likely an anthropomorphic human image. One can see design "line-cut" work that looks like an open mouth and head at the top of the pendant. The back side is flat, and the "line-cut" design is seen on the concave front side. There is also minute mineral deposits and root marking seen on the pendant and most of the beads, and most, if not all of the beads appear to be ancient, and have mineral deposits and patina. These pendants had magical properties, and were worn as personal adornments which also conveyed that status and rank of the owner. The "Celt-God" pendant type was first developed by the Olmec circa 1200-1000 B.C., and this type of object was also votive. This type of object is also found in many pre-Columbian cultures in Mexico and Guatemala. This type of jade object is also explained in detail by Frederick Lange in "Pre-Columbian Jade", University of Utah Press, 1993. This piece can also be worn as is, and can also be displayed in the included custom display box. Ex: Private German collection, circa 1990's. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1177558
Apolonia Ancient Art
$3,275.00
This interesting Moche ceramic dates circa 300-500 A.D., Moche III-IV periods. This superb piece is approximately 9.25 inches high, and is in intact condition with vibrant colors. This piece has some attractive light brown burnishing on the vessel, and has reddish-brown painted highlights over a cream background. This piece has a conical projection from the top of the vessel, and an attached red stirrup handle is seen on the side. This conical projection may represent a Moche ceremonial club, as it is very analogous in shape to the terminal end of a wooden ceremonial sacrificial club that was found in Tomb 1, Platform II, Huaca de la Luna, Peru. (See "Moche Art and Archaeology in Ancient Peru", National Gallery of Art, Washington D.C., Yale University Press, 2001, pp.96-97, fig.10. Immunological analysis of this wooden club indicated that it had been repeatedly drenched in human blood, and this club could have been used to ceremoniously break crania or other bones of victims. See attached photo. Another Moche stirrup-jar vessel with an analogous conical projection of this type is seen in "Moche Art of Peru" by Christopher Donnan, University of California, Los Angeles, 1978, pp.46-47, fig.65-66. This particuliar fineline vessel has a procession of warriors seen with war clubs, helmets, and small shields.) The piece offered here has a frieze of four red floral/reed groups, which are evenly spaced in the cream colored field that is seen around the main body of the vessel, and there is an avian above each. There is a red "center bar" symbol that divides this frieze into two parts, and in addition, there are two floral symbols seen on each side of the vessel on the upper shoulder. According to Donnan in the reference noted above on p.33: "In two-dimensional representation, plants are consistently shown in profile, with one notable exception: the blossoms on a flowering plant which often occurs in fresh water scenes are shown from above. (fig. 58)". The red "center bar" symbol noted above, was also a Moche convention of art to not only divide the frieze into two parts, but also to give the viewer a two-dimensional plane which offers the viewer of this frieze a view from above, along with a profile view as well. This "duality of portraiture" is seldom seen in Pre-Columbian art, and as such, this piece is a rare example of Moche fineline ceramics. In addition, the red "center bar" symbol also likely represents a "tie symbol", which simply is a rope and/or cloth that is seen tied around the neck of the vessel. According to Elizabeth Benson in "Death-Associated figures on Mochica Pottery", published in "Death and the Afterlife in Pre-Columbian Art", Washington D.C., 1973, p. 108: "The tie seems to be symbolic of offering or sacrifice; I believe that tying is an integral part of the funerary ritual, and that the jar with the rope around the neck is the purest funerary symbol. The tied jar is perhaps in some way equivalent to the prisoner figure or the sacrificial limb or head". This "tie symbol", along with the raised conical projection which may represent a ceremonial sacrifical club, are both symbols that point to the fact that this vessel was also likely a "ceremonial offering vessel" that was associated with the ritual of "offering and sacrifice". Ex: Sotheby's New York, Antiquities, Tribal, Pre-Columbian and Later Works of Art, June 1981, no. 41. Ex: Dr. Klaus Maria collection, circa 1981-2012. (Note: Additional documentation is available to the purchaser, including a TL test document from Gutachten Lab., no.481811, dated June 11th, 1983.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1181942
Apolonia Ancient Art
$3,275.00
This interesting and lively Moche ceramic dates circa 300-500 A.D., Moche III-IV periods. This mint quality piece is approximately 9.25 inches high, and is in intact condition with vibrant dark red and cream colors. This piece also has some attractive light brown burnishing, and minute root marking seen on the upper end of the spout and near the lower base of the vessel. This piece has a lively running deer, seen on each side of the vessel, and each deer faces a central dividing "double-bar" symbol which is seen at the front of the piece. This "double-bar" symbol may also represent a sacrificial "tumi", but more likely it simply is a "tie symbol", with a rope and/or cloth tied around the neck of the vessel. According to Elizabeth Benson in "Death-Associated Figures on Mochica Pottery", published in "Death and the Afterlife in Pre-Columbian Art", Washington D.C., 1973, p. 108: "The tie seems to be symbolic of offering or scarifice; I believe that tying is an integral part of the funerary ritual, and that the jar with the rope around the neck is the purest funerary symbol. The tied jar is perhaps in some way equivalent to the prisoner figure or the sacrificial limb or head". The dark red lively running deer are seen against a cream background, and are vibrantly portrayed with an upturned tail, a "floral-leaf" designed ear, an antler reaching forward at the top of the head, and a protruding hanging tongue. This piece also has a conical projection from the the top of the vessel, along with a seated frog that is seen centered at the top within a red fineline petal design, and the conical projection has an attached red stirrup handle seen on the side. This conical projection may represent a Moche ceremonial sacrificial club, as it is very analogous in shape to the terminal end of a wooden ceremonial sacrificial club that was found in Tomb I, Platform II, Huaca de la Luna, Peru. (See "Moche Art and Archaeology in Ancient Peru", National Gallery of Art, Washington D.C., Yale University Press, 2001, pp. 96-97, fig. 10. See attached photo.) The ceremonial sacrificial club also is associated with the "tie symbol" and the lively running deer seen on this vessel, as they may represent deer that are portrayed as being part of a Moche ceremonial deer hunt. According to Christopher Donnan in "Deer Hunting and Combat", seen in "The Spirit of Ancient Peru", Thames and Hudson, 1997, p. 54-55: "Deer are known to run with their tongues hanging out the sides of their mouths. No other animal in Moche art is shown in this way. Deer are known to run with their tongues out when they are winded or tired, and the artists may have intended to show them in this state. Moreover, when a deer is killed, the tongue will often drop out the side of the mouth through a gap that exists between the deer's incisor and molor teeth. In Moche deer hunting scenes, hunters consistently wear elaborate clothing, headdresses, and ornaments-attire that is altogether unsuited to the stalking and killing of deer. To understand why they are dressed this way, it is useful to consider the ethnohistoric records describing the great hunts practiced by the Inca. The best account is of a hunt held by the Inca ruler, Manco Inca, near the valley of Jauja in honor of Francisco Pizarro around 1536. On that occasion, 10,000 Indians formed a ring around an area 30 to 60 miles in circumference. They then closed toward the center, driving all the animals in the area before them, and forming several concentric rings as their circle grew smaller. When the circle was small enough, designated hunters entered it and killed as many animals as was desired." It's also quite possible that the deer seen on this vessel are portrayed at the point when they were ceremoniously killed, and that they were killed primarily for their blood for it's use in ceremony. In addition, the "floral-leaf" designed ear may also represent a deer's ear that has been engorged with blood from stressed running. The Moche placed a great deal of importance to the deer hunt, and the piece offered here shows artistic features that point to this fact. This mint quality piece is a scarce example of Moche fineline ceramics, and is seldom seen on the market. Ex: Private German collection, circa 1970's. Ex: Dr. Klaus Maria collection, circa 1980-2012. (Note: Additional documentation is available to the purchaser, including a TL test document from Gutachten Lab, no. 279006, dated July 6th, 1990.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Metalwork : Pre 1492 item #1242679
Apolonia Ancient Art
$4,265.00
This scarce piece is a Chimu/Inka culture silver mask that dates circa 1300-1532 A.D. This piece is approximately 8 inches wide by 6.9 inches high by 1 inch deep. This appealing designed piece is intact, save for some minor stress cracks seen in the lower nose section, and is complete with no restoration/repair. This piece has a nice dark gray patina with some minute spotty black mineral deposits, and thick dark/light brown mineral deposits are seen on the back side of this piece. This piece was also hand beaten from a single silver sheet, and there are punched cheek, nose, and mouth details. There are also two punched horizontal shaped eye holes, and two holes on each side which were used to tie this powerfully primitive designed piece to a textile shrouded mummy bundle. This piece also has very little bend, and also served as a solid cover for the mummy bundle. The primitive design of this piece may also have been designed to represent the departed in the spirit world, and also served to protect the mummy. This piece is also the normal size for a piece of this type, and another scarce piece of this type classified as Chimu culture is seen in "Peru, Durch Die Jahrtausende", Verlag Aurel Bongers KG, Recklinghausen 1984, Austria, Kat.-Nr. 11.67, Linden-Museum, Stuttgart, Museum no. M 31 059. (The Stuttgart example is approximately 8 inches high and has analogous punched out eye holes, and punched nose and facial details. See attached photo.) The piece offered here is a powerfully primitive designed facial image that defines the essence of Pre-Columbian Andean art. This striking piece also comes with a custom shadow box, and can easily be removed, as it is mounted within with removable plastic tabs. Ex: Auktion Ketterer 149, Lot 371, Zurich, circa 1990. Ex: Dr. Ernst J. Fischer collection. Ex: Private German collection. Note: Additional documentation is available to the purchaser. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #1224537
Apolonia Ancient Art
$1,875.00
This cute little piece is a pendant from the Zapotec culture that dates circa 200 B.C.-200 A.D. (Monte Alban II period). This piece has earlier Mezcala artistic influence, and a myriad of small monkey/squirrel pendants of this type were produced as early as 300 B.C. in western Mexico by the Mezcala culture. This complete piece is approximately 1.9 inches high by 2 inches long, and stands upright on its own, which also points to the skill of the artist, as most of these examples do not stand on their own. This piece is carved from an attractive green serpentine (green diorite) which has several light brown and white inclusions, and some minute stress cracks within the stone. This piece has Zapotec artistic style as seen with the extended thin lips, Roman style nose, and incised line work on the upper head. This piece is also a "transformation" type piece, as the seated monkey has humanoid anthropomorphic facial features. This piece also has a small bow-drilled suspension hole seen between the back and raised tail, and this piece likely served as a "protector" type pendant. This piece has bow-drilled eyes, and were likely inlaid with a colored stone. There are heavy white calcite and black mineral deposits seen within the two eyes, and the small suspension hole. In addition, there is some dark brown mineralization seen deep within some of the minute stress cracks of the stone. There is also a light brown patina seen on the outer surface, and some traces of red cinnabar seen on the low relief areas of the piece. A lively piece with a great deal of eye appeal with an exceptional patina, and is a scarce type. Ex: Private German collection, circa 1970's. Note: Additional documentation is available to the purchaser. This piece also sits on a custom black/Plexiglas stand. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1249675
Apolonia Ancient Art
$4,675.00
This extremely rare piece is a Moche seated man that is Moche IV Period, circa 450-550 A.D., and is approximately 8.3 inches high. This interesting piece is intact, save for a filled stress crack in the upper stirrup-handle, and is in superb condition with vibrant dark red, light brown, and cream colors. This piece is a seated Moche man who is dressed with regal ear flares, a wrapped headdress, a dark red back sack, and a cream colored tunic. The individual portrayed here does appear to have some social status in a regal or religious context, as he is seen finely dressed, and he is also seen holding a ceramic in each hand which may point to a ceremonial activity. This individual displays a pronounced facial deformity, which was also held in high regard by the Moche, as this was thought to be a sign from the gods. Special status and sacredness may have been accorded to those who suffered diseases and other physical handicaps. The pronounced deformed face of this individual has skin drawn tight over the bones, and is likely the result of a tropical disease. The Moche were known for their realistic ceramic portraiture, and the piece offered here is a prime example of their skill for realism in portraiture. Moche ceramics that are medical related, and depict individuals with diseases and/or deformities such as this piece, are rare to extremely rare. Another analogous example that portrays a deformed face is seen in "The Spirit of Ancient Peru: Treasures from the Museo Arqueologico Rafael Larco Herrara", Thames and Hudson Pub., by Kathlenn Berrin, San Francisco, 1997, no. 69. (See attached photo. This portrait-head type vessel seen in the Larco Herrara Museum may also be a portrait of the same individual as seen on the ceramic offered here. Both pieces have analogous features and are both Moche IV Period.) The individual seen here with the deformed face and diminutive nose was likely caused by a tropical disease known as Mucocutaneous Leishmaniasis (ML), and this disease is found today in Bolivia, Brazil, and Peru. ML is contracted from a sand fly bite, and subsequently, ML symtoms include painful nodules inside the nose, perforation of the nasel septum, and enlargement of the nose and lips. Untreated, the disease leads to ulcerated lesions and scarring and tissue destruction predominately in the face and extremities which can be disfiguring. (See MedicineNet.com for more information regarding this disease.) The piece seen here likely displays the disease noted above, rather than a battle injury, or a ritualistic mutilation, but whatever the case, this interesting piece is an extremely rare Moche vessel that is seldom seen on the market. Ex: Gayle Grayson Gallery, Chicago, Ill., circa 1980's. Ex: Estate of Daniel J. and Ruth Edelman, Chicago, Ill. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #1234381
Apolonia Ancient Art
$1,875.00
This scarce piece is an extremely large Mayan green jadeite tube that dates circa 600-900 A.D. This solid piece is approximately 8.5 inches long by 1.4 inches in diameter, and has a beautiful dark to light green color. The beautiful stone seen here is likely jadeite, rather than serpentine, as it is extremely dense. This interesting piece has a bow-drilled hole at each end which connect near the center, and the bow-drilled holes are approximately .5 to .6 inches in diameter which also slightly narrow within the tube. There is also a layer of gray calcite deposits seen on the inner surfaces, and a light mineralized patina on the outer surfaces as well. This piece is also not perfectly round, has a somewhat rectangular shape, and has a great deal of eye appeal. There is a very strong possibility that this scarce piece was used in Mayan smoking ceremonies, and/or may have been used in Mayan regalia and served as a decorative item in a headdress, a necklace, or a sacred ceremonial object. This piece is also somewhat heavy, as it is likely a dense green jadeite which was sacred to the Maya. According to Francis Robicsek, in "The Smoking Gods", University of Oklahoma Press, 1978, p. 73, Robicsek elaborates on the forehead tube that was used to identify God K: "Forehead tube thought to represent a cigar. This is a fairly constant trademark of this deity. The identification of God K of any portrait lacking the forehead tube is suspect. It is nearly always present on ceramic representations and on stone carvings, but is usually absent from paintings in the codices. The object may be tubular or funnel-shaped, or it may resemble a celt. Sometimes it is undecorated, but more often it is striated, dotted, or marked with oval symbols. It also varies greatly in size and, if painted, in color. As a rule the tube emerges from the forehead; however, in two paintings, both of them on Peten ceramics, it protrudes from the mouth. On most portrayals the handle of the tube is sunk into the head and it is not visible; on others it emerges at the nape. As discussed earlier, these tubes probably represent cigars, but the possibility that they may represent torches or celts cannot be excluded." In addition, the piece offered here may also have been used by the Maya relative to the relationship of the royal elite to God K, and may have been used by the Maya as noted above in some capacity as a decorative element and/or used relative to the smoking culture of the ancient Maya. This piece also sits on a custom display stand. Ex: Private CA. collection, circa 1980's. Ex: Walter Knox collection, Phoenix, AZ., Ex: Private CO. collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1047632
Apolonia Ancient Art
$965.00
This cute piece is a Colima standing warrior that dates circa 150 B.C.-250 A.D. This piece is approximately 5.5 inches high and is intact, with no apparent repair and/or restoration. This piece is a light red/orange terracotta, and has some minute dark black spotty dendrite deposits. This piece is also a whistle, with an opening at the top and at the back of the hollowed head. The whistle is well made, and makes quite a sharp high-pitched tone. This piece was likely ceremonial, and may have been part of a group ceremony. This type of piece is also known as a "protector" type piece, and is thought to protect the deceased in the afterlife. The standing warrior seen here is nude, and is seen holding the full body length shield with both hands. The shield is leaning against the upper body of the warrior, and only the upper half of his face/head is seen peeking above the upper end of the shield. The design of the curved shield protects a great deal of his body, and it is probable that this stance illustrates the type of warfare that was conducted by the ancient Colima. It is unknown if he is part of a shield wall with many warriors, as was the case of the phalanx formation that was deployed by the ancient Greeks, or if he is simply depicted as an individual warrior in combat. The warrior is also seen wearing a turkey tail feather crest/helmet, and this makes him seem larger than life and more imposing. (A turkey whistle with analogous designed tail feathers, as the crest design seen here, is seen in "Sculpture of Ancient West Mexico" by Michael Kan, Los Angeles County Art Museum, 1989, no.169.) An interesting piece that has a high degree of eye appeal. Ex: Yvette Arnold collection, Dallas, Texas, circa 1970's. Ex: Private Fl. collection. I certify that this piece is authentic as to date, culture, and condition: